ILAP Open Studios 2021 in numbers:
18 participating artists
13.9 times increase in the number of visits to our website
296 visitors who engaged with the event and entered the virtual rooms (ILAPers studios)
Bio
Alzira Ballestero lives and works in Piracicaba (SP) Brazil. She studied Specialization in Visual Arts at the State University of Campinas UNICAMP. Has attended the Engraving Course at UNICAMP
Participates in the Visual Arts Project Monitoring Group – Sylvia Furegatti – Campinas (SP) and in the Training Program for Criticism and Practice in Visual Arts, International Laboratory of Artistic Practices (ILAP), at UNCOOL Artist
And she works with small formats. The references are images collected from everyday life, via memory, post office, newspapers, magazines and the internet, refined by an interpretation that values empty spaces, the white, the veiled.
I am always looking for new ways to communicate with people within the possibilities offered by studying empty spaces, transparencies, nebulosities. I trust and make use of the small formats, which draw the observer closer, in almost an intimacy.
I try to instigate people to imagine what can be found under the thin slices hidden by a drawing or a painting. Images that deal with subtleties, everyday issues and simplicity.
Bio
Ana Zequin is an artist and illustrator who lives in the interior of the state of São Paulo, based in Araçatuba. Her work is the exhibition of her intimate universe, in which the narrative is her fictional autobiography. The artist relates her memories, her daily life and characters from this universe to produce drawings, paintings and collages.
She received a bachelor’s degree in Visual Arts from the São Paulo State University (UNESP) and specialized in History of Art from Claretiano – Education Network. Today, she is a member of International Lab for Art Practices from Uncool Artist.
I’m interested in experimenting with different processes. I can make a drawing by observation, but I can also take photographs, build a collage and then from that montage produce a watercolor. I feel attracted to being immersed in the same subject using different mediums. In some works what reaches the spectator is only the final result, while in others it is possible to perceive a repetition of the same subject in different ways.
Paper is usually the support of my works, me draws attention its lightness, its various possibilities of texture and how each material reacts on it. Today, the papers I’ve been using come from materials I’ve been accumulating and from works that didn’t reach the expected result. This limitation has prompted me to think about how to take advantage of the materiality and history of each of these papers.
My works are usually small, which makes it possible for me to be able to handle them on my own and to work closely with them. This interests me, as I want the proximity to also occur with the spectators. I want the viewer to feel drawn to get close to the works and to project their own narratives into my fictional autobiography.
Bio
Camila Crivelenti is a multimedia artist, lives and works in São Paulo, Brazil. Graduated in Product Design and Art Direction, she has always walked between manual and digital art productions.
Her artistic research is aligned with her spiritual inquiries and with the development of her own symbology to access the unconscious. Her projects have already been part of exhibitions in Brazil, the United States and Europe.
With the purpose of connecting self-knowledge and spirituality, her works explore various techniques and materials, walking between the concepts of amulets, oracles and ancestry in order to capture the wisdom contained in the essence of Life.
My research is based on the different energies of the materials I use and in the use of symbology as a language for this research. My works are extensions of my unconscious, they are laboratories for an initiatic path, keys to self-knowledge and amulets that rescue my strength to exist in the world.
For me, art has always been a means of communication between worlds. Research has always been a method of approaching these worlds, and sharing what I discover in this journey is the motivation that makes me go further.
The way I take this beyond me is in the form of texts, paintings, installations, sculptures, videos, objects and whatever else is needed to invite the observer to think of other possible universes around them and, with that, they can also understand themselves.
Bio
Carin Kulb Dangot, b. 1971, is a São Paulo, Brazil-born abstract painter and sculptor. She began her career as a food engineer and then a sought-after food designer for film and television before bringing her love of mixing, melding, and inventing new forms to the world of paint, color, volume, and mass. Dangot’s artwork emphasizes the physical properties of materials via experimentation and other intuitive processes. She is interested in paint materiality and plasticity on various surfaces–such as canvas, aluminum, and mylar- 2D and 3D.
Dangot currently lives and works out of New York City since 2010.
These four bodies of work born of and prompted by the visceral pleasure of media in excess, it is the culmination of a process of experimentation in which colorism, synergy and three-dimensionality look to expand while keeping a delicate balance. Each artwork is made from heavy material manipulation such as spatulation, peeling, folding, twisting, and compressing to create unique art objects.
My artwork departs from a life in the sciences in a search to be free from the limitation of ‘expectation’. As such, the authenticity transcends intention via the realm of the abstract. To stimulate these possibilities, I use non-conventional tools and mediums beyond their prescribed uses, which recently drove me to focus on acrylic paint, which I find interesting as an art object, as much as a subject. The acrylics’ plasticity, in particular, has inspired the accumulation of material. As a result, unique types of topographic scenarios have evolved into four series: “All paint,” “Suspiro,” “Skins,” and “Aluminum.”
Bio
Carlos Monaretta is a visual artist and researcher. Degree in visual arts from FAV-UFG. Since 2016, he has been participating in exhibitions at public and private institutions. During his trajectory, he had complementary training in critical monitoring laboratories with Marcio Harum at the Adelina SP Institute and monitoring of artistic processes at Casa Voa. Participates in ILAP-BR at Uncool Artist. In 2018, he received an honorable mention at the 2nd SESC Biennial, Brasília-DF. In the same year, he participated in the artistic residency in the Trampolim project. In 2019, he was awarded in the photography category at the 24th SESI Arte Creativity Contest, Vila Cultural Cora Coralina, Goiânia-GO.
I’m a walking artist, I walk through different places and I register through photos and videos what interests me and take me through reflection to other places. Later I take these experiences and records to the studio and develop the second part of the work, which is to create new conceptual narratives about the images and my experiences.
I invite all of you to come into my studio so that we can talk together about work that is being developed and also ready. I want to present my interests from a visual exhibition and through pre-established verbal narratives. Contact with the observer is very important for the constitution of my research, so I invite you to come and participate in this very important moment of exchange of conversations through the online room, I’ll wait for you on June 22, from 5pm to 6pm EST.
Schedule:
Portfolio presentation with research comments
Presentation of drawings in processes, with conversations between participants
Presentation and discussion of concepts present in the works
Bio
Dainy Tapia is a cultural practitioner based in Miami, FL. She is the creator, and curator of ArtSeen365: a platform dedicated to promoting art and artists in Miami, South Florida and beyond, by creating and publishing original digital content. She holds a master’s in arts in Communications and a bachelor’s degree in Computer Science. Dainy collaborates with several art institutions in South Florida, among them the Doral Contemporary Art Museum, where she is responsible for Communications and Community Outreach, the Bass Museum of Art where she is a docent, and the Women Artists Archive Miami (WAAM) where she serves as a member of the board. She also collaborates with artists to support their practices and specific projects by advising and lending her organizational skills.
Dainy Tapia produces and facilitates cultural events around the visual arts. As part of this pursuit, she created and curates ArtSeen365, a platform for the promotion of the visual arts and artists in Miami, South Florida and beyond. ArtSeen365 aims to provide a digital space for exchanges among art professionals, art lovers and the public in general.
On ArtSeen365, Dainy only promotes art that she has seen in person, and she does it, one way or another, 365 days a year. ArtSeen365 social media feeds include art she has seen during her visits to art museums, galleries, artists’ studios, public and private spaces.
as well as to provide advice to artists and people interested in acquiring art.
At the same time, she gets inspired with ideas for research, writing and curatorial projects, looking for answers to the questions that intrigue her along the way.
Bio
Geovana Côrtes is a visual artist, photograph and cultural producer. Graduate in communication and cultural production on Univesidade Federal da Bahia (UFBA) in 2018. Is part of International Lab for Art Practices. Her artistic practice focuses on her own body and autobiography extrapolating them to other bodies and stories.
My artistic practice goes through the perception of my own body, feelings and emotions in images. I’ve been working with embroidery, illutration, watercolor, photograph and textile art.
The consciousness of the body involves identity issues, consumption, environmental impact and be a woman. All these issues are imaginary, sometimes abstract, have connection with my own place, ancestry and other bodies and places. It’s also about me and the space I’m, a eternal quest about relation with nature in midle of big citys, running landscapes, external and internal noises.
It’s important for me to build an autobiography thats changes from the contatct with other.
Bio
Juliano Mazzuchini, actor, visual artist, and researcher. He lives and works in Buenos Aires – Argentina. Between 2004 and 2007 he studied at the ELT-Free School of Theater of Santo André – Brazil and since then, he deepened his scenic research on epic theater. From 2017 ahead, he started his research in visual arts, more specifically on painting. He has participated in exhibitions in Brazil and Argentina, such as the Luiz Sacilotto Contemporary Art Salon and the Visual Arts Contest-Fondo Nacional de las Artes as well as he did artistic accompaniment at Jardim do Hermes in São Paulo-Brazil and Clínica de Obra with Mariano Vilela in Buenos Aires-Argentina for the research field. As a result of his dedication to growing and evolving as an artist, he currently became a member of the ILAP BR (International Laboratory of Art Practices Brazil) at Uncool Artist.
Since the beginning, my work has been a reflection about the other, the human being. Due to a background in scenic arts, my paintings assume the continue use of human as raw material for reflection on society, so I paint the “other” trying to trigger individual and social issues that move and provoke me.
My process has been mediated through photography. The composition is built using the presence of an entire or part of a photography already taken and then I move it to painting, seeking not only to represent the photography itself, but also taking the image as a motivation for a pictorial investigation.
Bio
LAURA VILLARREAL
American, born Mexico (1971). Works and lives in Miami, USA.
Laura is a multidisciplinary artist, working mainly in the Fiber Arts and its relationship to Painting and Photography. Through the use of embroidery, thread and textile on mediums like paper and canvas she creates a feminine poetry inspired by her roots, with its vivid colors and ancient traditions; as well as her subsequent immigration to the United States in the late 90’s. Laura seeks to merge these two stages of her life by creating tensions between the different media while questioning issues of identity, sense of place, longing, and memory through a narrative created by textile, thread, imagery and paint.
She holds studies from the University of North Carolina, the New York School of Visual Arts and the Art Students’ League in NYC as well as a Master’s Degree in Analysis and Management of Contemporary Art from the University of Barcelona. Some of her exhibitions include the Instituto Cultural de Mexico in Miami, the Embassy of Chile in Washington D.C., the Centro Cultural Fatima in Mexico, the Mexican Consulate in Los Angeles to name a few. She has shown her work in art fairs like Art Lima, Chaco Chile and Pinta Miami. She is amongst the artists that comprise the Mexican Cultural Institute in Miami as well as an advocate for Art Education in young audiences in the City of Key Biscayne, Florida.
MENTAL NARRATIVES SERIES
Since we are born, our mind is filled with information, like a recorder that never stops, it does not run out of batteries, nor it breaks. It is always recording. This recording comes from what we are taught and experience as a child.
The Mental Narratives series is an exploration of memory, a part of the mental process. With the use of thread, textiles, and photography, I contrast the feelings of yearning for a long and lost childhood with my need to reframe the initial beliefs taught then. By paying homage to these past experiences, all while creating a barrier that impedes our ability to see them fully, I intend to blur old memories and reconstruct new ones. Using traditional Mayan embroidery techniques, later transformed into my own, I aim to rewrite memory in a way that serves me better now. I could call this a poetic portrait of my mind.
Bio
The intimate landscapes are the ones that enchant me. The interior of a house, with its corners and objects, builds the structural architecture of the space and the particular architecture of each person. The domestic walls compose together with the artifacts accumulated throughout existence and thus the body becomes omnipresent in this infinite sphere of private life. The body is under discussion, but without exposing its form.
For this capture of interior landscapes, I use the language that is most dear to me, painting. The pictorial representation allows me to reach the sensation of the infinity of the human experience, precisely because it is formed through the clash between the perception of my unconscious with the outside. By representing the material reality of the other, I produce my own existence. The shapes and colors of the painting are material proof of the affective reality of dwelling.
In her production, Lina Cruvinel dedicates herself to domestic spaces, curious to observe the intimate architecture built by those who inhabit it. The intention of capturing the atmosphere of these houses, she detains herself pictorially in the relationship between the color and the forms, seeking to provoke sensations in itself and in the spectator.
Painter from Goiânia/GO, lives and works in São Paulo / SP. Lina holds a Bachelor of Visual Arts from the Federal University of Goiás-UFG. She participated in the artist residency at the Berlin Art Institute (2016); 23º Concurso Sesi Arte Criatividade23º Concurso Sesi Arte Criatividade, Vila Cultural Cora Coralina (2017); Programa Trampolim – mergulho para jovens artistas, which resulted in the exhibition Um corpo no ar pronto pra fazer barulho, MAC-GO (2018); 44th SARP – Salão de Arte de Ribeirão Preto Nacional Contemporâneo, MARP (2019).
Bio
Luisela Cantele Cansian Pelizza, born and resident in Chapecó/SC – Brazil, in 1968
Architect and Urbanist graduated from Ritter dos Reis College – UNIRITTER (Porto Alegre/RS- Brazil), 1991 and Post Graduated in Industrial Design from the Lutheran University of Brazil – ULBRA (Canoas/RS – Brazil), 1998.
Nowadays I work with analog and digital collages.
Art has Always been present in my life but the collage began when I looked for something other than Scrapbook that I’ve done for Family life stories.
After attending a workshop in 2016 I started to analog collage. I found a way to tell a stories from diferente pictures and I Love it!!
In 2019 I started participating to the Paris Collage Collective Challenges and Februllage with digital collages. Then I exposed my works in others collective exhibitions in Cartagena de Índias, Rotterdan e Madrid besides Chapecó and regions near by.
I hope you enjoy my Works that is made with a lot of love and care!!! See you at Open Studios at 6:00 to 7:00 PM/US-NY!!
Bio
Mariana Battistelli, live in Florianópolis-SC
Graduated in Visual Arts with an emphasis on computer graphics – UTP (2013) and Post-graduated in Social History of Art – PUC / PR (2016). Her main investigative language is painting, articulating media, supports and techniques in works directly linked to digital communication tools. She explores scenic, allegorical and narrative resources, seeking to provide the resignification of data through appropriation and assembly. With an interest in image materiality, she develops objects, graphic studies and web projects. Currently researching the relationship between art and affection in the insertion and circulation of works online.
I work on the pictorial language starting from the selection of digital files, to create narratives. I combine personal records, browsing data, presence and interactions on the web. I aim, in this volatile enronment, to find in banal characteristics reasons that highlight sublime aspects. Providing, through the manipulation of a pictorial surface, identification and recognition – here and now.
I guide myself in the different ways of perceiving myself as a subject and in the potential of medias in affective developments. A constant exercise in getting to know you and the world mediated by interfaces. Usually my works are presented in the form of objects, graphic studies and propositions. However, I have been researching online delivery and network insertion using digital marketing and web development tools.
Moved by the naturalty with which we observe what we cannot see, I bet in large part that the voice that sounds while reading these words is not mine. For, like Emanuele Coccia, I believe that we are not limited to receiving the sensitive, because we also produce it.
Bio
I am an architect and artist based in São Paulo, Brazil.
My work investigates how disturbances originating from different stimulus types can build imaginary spaces
In my first work, I proposed the construction of an imaginary of a space of delirium from the practice of drifting through uninhabited places. I intended to interpret how nature can become a disturbance to the mind.
In my second work, I investigated feelings of suffocation from the female perspective. Specifically, the insertion of women in working spaces characterized by being aggressive with its historically constructed fragility and by the paradigms that this universe sustains about bodies.
I am interested in installation spaces, sound and video.
This body of work is part of an investigation into the behavior of the mind with regard to states of unconsciousness or hallucinations. It was started because of the 2020 pandemic, in view of the uncomfortable states of mind of people during isolation (and the many problems it can cause: anguish, suffocation, among others). My research is based on the psychological studies of Charlotte Beradt in “Dreams in the Third Reich“, in neuroscience research of Sidarta Ribeiro, on some fantastic stories by Jorge Luis Borges (especially “The garden of forking paths”) and Finnegans Wake by James Joyce, among others.
It is about Twilight States, which is a dividing line between dream and reality. The consequences of which manifest themselves in “confusion states” of consciousness, imperfect vision of the real world, hallucinations, illusions, and depersonalization. It is also a state of distress, pre-madness, or pre-surge delirium.
In my opinion, as long as there is human authority over technology, behavior, and events in general, control over the psyche, individual thought, (and especially dreams) still escape the effective domain and control of human action.
In this work, I intend to provide pathways of thoughts on conscious and unconscious levels and explore how sensations can manifest themselves through strangeness induced by spatially placed sound and visual stimulus.
For the open studio, I’ll present part of the video/shadow/sound and a video of photographs frames
Bio
Born in Rio de Janeiro, Brazil, 1967
Based in New York, NY.
Mark Engel is a Brazilian-American artist. He has done extensive and pioneering creative work with digital paintings since 1995. In his computer generated artworks, Mark develops abstract imagery based on stock photography, found images and scanned objects; the new imagery retaining just enough information to be recognizable as something real, but not enough to point to its origins. His artwork deals with issues of abstraction vs. representation, seduction and repulsion, contemporary art practices, humor and oftentimes addresses issues of social and economic politics of his native Brazil as well as general societal power dynamics.
Mark Engel’s digital paintings are based on pre-existing images and photographs. By manipulating these cultural artifacts he develops a search for the abstract within the concrete; creating abstractions with new metaphorical meanings that reflect social, political and economic issues.
In the Dharmapāla series, Mark did a contemporary research and rereading of Tibetan thangkas, paintings on fabric, usually representing a deity, Buddhist scene or mandala, focusing especially on thangkas that depict the dharmapālas, the “furious” gods and defenders of Buddhism.
Dharmapāla means “protector or defender of Dharma (cosmic law and order),” in Sanskrit. They are typically deities represented with furious iconography in the Mahayan and Tantric traditions of Buddhism. Although the dharmapālas have a terrifying appearance and countenance, they are all bodhisattvas or buddhas, personifications of compassion who act furiously for our benefit. Their appearance is not intended to scare, but rather to convey the willingness and strength needed to overcome and remove the powerful obstacles in the face of our spiritual progress.
Mark also makes a connection of these works with Auguste Rodin’s Gates of Hell not only through the symbols of death and hell but also inherent concepts of final judgment and universal justice.
Bio
Natália Cavalcante was born in Linhares, Espírito Santo and currently lives and works in Los Angeles. She has a BA in Fine Arts from UFES (BR) and is dedicated to painting, drawing, and has recently been exploring other materialities. She is interested in color and how forms are represented in the immediatness of making. In her works, she seeks to explore perceptions of seeing, being and what is imagined. Natália has had her work exhibited in Los Angeles, New York and Vitória.
Last year in parallel to other productions, I had the need to explore materials already used or collected before. I established that experimentation and the making of itself would guide the whole process. I started to use paper and ink, already used in two-dimensional works, as materials to make small paper sculptures. Niki de Saint Phalle’s Tarot Garden inspired me to think of this mini cities/playgrounds. I also related its making to the nostalgia of inhabiting the city at the beginning of the pandemic.
These sculptures led me to start storing paper and plastic containers. The desire to reuse materials that would be discarded grew with the observation of the garbage separated for recycling.
Painting on plastic I could see how this support provides the liveliness of color and highlights the textures of the brush strokes. These characteristics encouraged me to continue using this material. The shape of the plastic lids reminded me of a chassis, so why not stretch pantyhose on them, and use this as a support for paintings.
I perceive color as an important tool for connection and affection with the outside world. Many references and interests in new materials start with color. That said, added to its materiality, I started using net’s bags from vegetable packages as fabric; stretching and overlapping them into wooden chassis.
Bio
Regina Jestrow is a visual artist from Queens, NY currently based in Miami, FL. Her mother taught her how to sew when she was a child, and she’s has utilized these skills throughout her practice. When she moved to Miami, she focused on quilting and crochet to cope with homesickness. Jestrow is a textile artist and fiber artist with ongoing interests in women’s history and patterns of American quilt traditions. Jestrow’s research has lead her to develop a body of work that includes painting, drawings, textiles, fibers, and sculptural installations.
My geometric installations, sculptures, paintings, textiles and quilts stem from my ongoing research of American quilt history. I learned how to sew as a child from my mother and borrow traditions from quilt making using improvisation, contrast, repeat patterns, and shifts in scale while incorporating colors, textures, and structures representative of the natural surroundings in South Florida. Along with my continuing interest in American Folk-Art Quilts, geometric patterns in nature, and geometric-abstract artists from the mid to late twentieth century, specific influences include Gees Bend quilters, Elizabeth Murray, Monir Shahroudy, Carmen Herrera, Helen Frankenthaler, Gego, and Eva Rothchild.
Bio
Rodrigo Pimenta
Visual Artist, São Paulo, Brazil, 1972.
Graduated in Publishing at ECA / USP, Master of Arts at the London College of Printing through Chevening Scholarship. He participated in free courses by Paulo Pasta and Charles Watson at Instituto Tomie Ohtake. Between 2017 and 2018 he takes part in Luiz Ernesto’s painting course at the Parque Lage School of Visual Arts. In 2020 he participates in the Painting Critique course with Regina Parra and Rodolpho Parigi. He currently participates in studio classes with Teresa Viana and attends the ILAP Brasil Program at Uncool Artist.
Influenced by Modernism and with a background in design, my research in painting focuses on the exploration of the grid, form and color. The act of drawing a grid is what first establishes my comprehension of the plane I am working on, and the space that presents itself for the use of composition and color to create image and meaning.
The possibilities of respecting or disrrupting the grid through tone, pattern, repetition, rhythm, harmony, tension, visual knowledge and intuitive wisdom, are part of my personal visual language development.
For the Open Studios presentation I will be live streaming working on the studio whilst talking about work and process, sharing screen content and listening and learning from the viewers.
Bio
Thais Ribeiro is a visual artist, born and raised on Rio de Janeiro’s periphery. Nowadays she lives and works in São Paulo. Graduated in Fashion Design (2002) with MBA in Visual Arts for Education (2020), she worked for 12 years in fashion pattern production and illustration for fashion editorials. Since 2015, she’s been researching textile art and visible mending as a vehicle for education and reassuring women’s relations with their past. This research has led her back to her drawing work from the early 2000’s, which has ever relied upon daily observations of people and places as a narrative thread. Her work is based on analogic photos from family collections. She recreates lost memories in works that mix drawing, painting and embroidery on paper.
Years working on women’s personal life stories as told by their clothing have brought me to countless experiments in Art Education. Threads that sewed patches on old pieces of clothing were a guideline for generating new meanings for personal memories. The constant exercise of reviewing women’s histories and ancestry through remaking their clothes has taken me back to my original artistic practice, which is drawing. Today, I portray the flow of people in time and space, starting from imagery kept in families’ photographic archives. They can be my own or others’ families. So what I draw is what I came to call ‘little impermanences’. In these times of endless digital editing of photography, old imperfect analogic pictures can tell us who we truly are, showing us people and places in their true ever changing nature. Starting from old analogic photography, I create artworks using color pencil, ink and watercolor. At times, the artwork gains successive layers of drawing on opaline paper, collage and embroidery. Like the patches did on clothes, the layers bring back to the images something that is no longer there, that got frayed, stained, changed. The end result is an overlaying of mixed media drawing and lines that function as the countless faces we can wear through life, the transitory and fraying images that give place for new ones to surge.
